2001 INTERVIEW (English version)
 Exclusive Interview withAluir Amancio |
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Last year when the list of nominees for the Will Eisner Awards 2000, the most important awards in the comics industry, was released, the name of a Brazilian artist was amongst the list. Nominated in the “Best Title for a Younger Audience” category along with his colleagues, writer Mark Miller and inker Terry Austin, Superman Adventures penciller Aluir Amancio showed that Brazilians are just as good with a pencil as they are with a soccer ball. Although being a title for a younger audience (kids and pre-teens), this title showcased high quality stories. During the phase (February 1998 to March 2000) when this team worked on the title, Superman Adventures became the best Superman comic book in the USA, easily surpassing the weaker stories appearing in the regular titles of the character. Writer Mark Millar also was nominated in the same year for Best Writer, up against legends like Warren Ellis and Alan Moore, just doing a book for children. It’s sad that this book, which follows the adventures of Superman in the Animated Series universe, isn’t being published in Brazil and the Brazilian audience isn’t able to see the beautiful work that Aluir Amancio is doing. In partnership with Omelete.com.br, the Metropolis SITE conducted this interview with Aluir, directly from Campinas in Brazil, he kindly told us how his career began and the difficulties breaking into the American market and what it has been like working with the most famous superhero in the world. Could you tell us a little about yourself and what you are working on now? A few weeks ago I produced storyboards for the new TV show “Atlantis” for Disney, based on the movie. Also I have been doing storyboards for the new Warner show “Justice League”. But my regular work is for DC, Superman Adventures and recently an issue of Impulse. When did you first become a comic book fan? I don’t know! Probably when my mother realized that I bought the comics to cut out the figures. I was seven years old then, but it was the first time I was forbidden to destroy comics my mom used to buy for me… She made me read them instead, if I didn’t she wouldn’t buy any more comics for me. Why did you decide to work on comics? I was eleven years old when I entered into this… At first it seemed that everything was just for fun. That’s the reason. It was fun. |
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When did you enter the industry and what was it like? What were your first jobs? I met Maurício de Sousa (Brazil’s most famous comic artist) in 1981. I was representing my school for the Bienal (biggest editorial annual event in Brazil) in that year and he saw my work there. That day, he invited me to work for his studio. My first professional work were comic strips published in the children’s section named “Folhinha” in the biggest Brazilian newspaper, Folha de São Paulo. It was all produced in the Maurício de Sousa Studios.
Why did you move to the American industry? Because of globalization… really. It was around 1991, when American economists coined the term “New Global Economy”. The term globalization wasn’t that popular, but I could anticipate what would be the results for the Brazilian comics market. Sadly, everything I thought would happen, did happened: big Brazilian companies stopped investing in the comics field because the concurrence of foreign comics books… It was very obvious for me at that time. But it is interesting that some people literally fell because they didn’t have that vision.
It was exactly the way I thought it would be and very different from what some people described it as at the time: that American publishers didn’t make contract with Brazilian artists who didn’t have agents, that Brazilian artists would have to change their names (see Mike Deodato’s case). But the publishers I worked for never mentioned these subjects… ever.
For some years, I sent portfolios and sample art by mail to American publishers, but I never was offered any work. In the beginning, I thought it would be easy to get work, because, at that time, I already had sixteen years of experience in the comics field. But soon I realized that it would not be that way… the American industry didn’t know me and I would have to start from the bottom level. It is funny that the only company I never sent samples to was DC Comics, and they called me to work. In truth, it was all because of a project Beth Fiori had bought from me, she was, at the time, responsible for the Editora Abril (Brazilian publisher who reprints DC Comics) super-heroes department. She sent the proposal project to DC but it was knocked back, but they liked the artist… What difficulties will foreign artists who want to enter in the American industry face? It is the foreign language. In my case, I already had a good grasp of the English language. For this reason, I could work directly with the American companies without an agent or any intermediary. When somebody asks my council, my first answer is: Do you speak English? If not it is better to find an agent or some honest representative. Recently, Terry Austin (Superman Adventures inker) told me about the problems some Philippino artists had with their agents. In the end, there were some fights between artists and agents and the whole thing exploded. What were your biggest artistic influences? Who are your favorite artists? When I was a boy, I was very influenced by old Hanna-Barbera shows, plus anime shows. In comics, Jack Kirby and John Byrne are at the top of my list. Could you explain the process of working on an American comic book? How is it different from Brazilian methods? I don’t see much difference between the systems. In the beginning, I thought the writers were like gods in the USA, but I soon realized that even the Editors wanted the artist collaboration on the script.
The scripts and the art pages were handled by Federal Express, all paid by DC Comics. In some occasions, the work is delivered in just one day. As you can see, it is a very efficient system… it’s like I’m working in New York. What are the qualities publishers are looking for in an artist now? I think it’s originality they’re looking for. Nowadays the storyteller, the artist who can tell the story efficiently, is very valuable. The artist also has to be very disciplined and to respect the deadlines, otherwise…
Yes, you are right… He is the first and biggest superhero. My main aim is to make the script more attractive and exciting for the reader, but I have also had the chance to disclose new colors in the relationship between Lois and Superman (Clark Kent) that really no other artists have done. In Superman Adventures, they’re not married and Lois does not know the secret identity of Superman. Thus, I insinuate a definitive platonic love that is suggested by the corporal expression of both… It has been interesting to see that some readers are catching these details.
Some pencillers who work in the “Animated” style have the obligation to follow the style of Bruce Timm and are paid to do this. My style was already very similar to his. Bruce agrees. I would say that currently this is not a serious problem in my case. Some time ago, my Editor granted me more freedom in respect to the style. Thus, I started to develop the style in a direction that made me feel more comfortable in the routine. I was certain that fans of the show would hate me for doing this, but it was a risk that I decided to take. The first feedback I got was from Alex Ross who mentioned the changes as something positive. What is your opinion about the Animated Series based on comics? Warner Bros. works with the greatest professionals in the industry, all fans of comics… all fans of Jack Kirby. The animated series are a tribute to the American comics geniuses and they are a revolution in itself. It’s common knowledge that the current Superman and Batman Animated Series were based on the Superman series produced in the 40s by Max and Dave Fleischer, what is the influence of this series on your work in Superman Adventures? I have the Fleischer’s Superman cartoons on DVD… I’ve watched it a couple of times. A few years ago you pencilled the character Senninha (based on the late Formula 1 pilot Ayrton Senna)? What was this like?
The work with Senninha had a great effect on you, you pencilled his face on Superman Adventures #29. Why did you do that? What was your intention pencilling that beautiful smiling face on the Daily Planet crew’s coffee cup? The truth is that some of my best friends work in the Institute Ayrton Senna. The title Superman Adventures went through a great period when it was written by Mark Millar, what was it like working with him? That was perhaps the best phase of the title so far, mainly because Mark based his scripts in the continuity of the show, only, from time to time, the characters acquired a certain Scottish accent. How do you see his success in the violent The Authority, title he’s recently worked on? For me, it’s funny… he is really a very gentle and mild-mannered guy. Currently there are rumors circulating that Superman Adventures will be canceled due to low sales. Is this true? Will it be the end of comics based on the Animated Series? In a couple of weeks, I will start to draw the last issue of Superman Adventures. As you know, the show was cancelled a few years ago. The cancellation of the book is a natural result. I don’t know for certain what DC plans for the title, but there is at least one 22-page story that will be printed after the cancellation of Superman Adventures. How? I still don’t know…
I am doing everything possible to see that this does not happen, but is probable. I’ve already produced storyboards for Justice League recently and you can believe it’s a lot of work… too many characters! In relation to the title, everything depends on the quality of the scripts and the affinity with the new Editor of the title. I do not intend to work regularly in a book with so many characters. Joey Cavalieri editor of Superman Adventures) facilitates things for me and has already offered regular work for me in another title. Recently Superman Adventures #58 had a cover painted by Alex Ross, it helped to increase sales, what is your opinion about gimmicks like this to sell more issues? Alex was very kind when he offered himself to paint this cover. The aid obviously is welcome, and it’s brilliant! Normally you don’t pencil the covers, why? How do you like the covers by Mike Manley and Alex Ross? Mike has so much fun doing the covers, why would I want to take away this pleasure from him? I find that his style serves better to the intentions of the book than mine does. Alex has been a fan of the animated series for a long time and the cover of issue #58 shows how versatile he can be. What are your future projects? What work will we see from Aluir Amancio in the future? What they’ve offered to me so far is another monthly title and prestige format books. However, they’re also evaluating a proposal for a new project based on my ideas. As I have already collaborated actively in the development of the scripts for Superman Adventures, this seems to be the next step for me. Thank you so much for participating in this interview, the teams of Super-Homem.com and Omelete.com.br wish you success and we are sure that all Brazilian fans enjoyed knowing that a fellow countrymen is doing a great job in the American comics industry. |
